Good news for wide shooters

The main drawback of Digital is that it kills wide angles.

Let me explain: in APS-C format, given sensor magnification you need to go 12/14mm to get to normal 20mm equivalent. Normal primes are not adapted for digital (deform/cost a lot).

Full frame: normal wides become wides again, but formulas rarely adapted for digital.

Fortunately for APS-C cameras a number of wide zooms have been developed both by camera manufacturer and independent to address these points (reach, digital quality).

Nikon released a 12-24 f4G IF ED to address the requirements of pro shooting with D2X. It has 2 ED glass elements and 3 aspherical lenses.

Roumors have sourfaced recently about the possible release of a new (hopefully cheaper) 10-24 DX f3,5-4,5G.

Canon has a EF-S 10-22mm f/3.5-4.5 USM which has range (16-35mm eqiv.), quality (3 asph lenses) and compactness.

Indipendent manufacturers have provided alternative zooms:

Sigma announced recently a new version of its 10-20mm zoom which is this time is a f3.5 constant aperture.

Tamron also has released a new lens with more range (10-24mm f3.5-4.5) which replace its wide zoom that was limited to 11-18mm range (which is also marketed by Sony).

Tokina has a 12-24mm f4 constant, which has been upgraded with internal motor to be used with entry Nikon model without AF motor. Pentax/Samsung is same lens. It is a quite solidly built lens and zooming and focus ring are pleasantly damped.

Main characteristics of such zooms are:

- relatively heavy - still usable for reportage

- relatively expensive - begs the serious question whether it is really a lens you need every day

- all have distorsions - need to spend time on Photoshop to correct

- all have other optical shortcomings (soft corners, flare, etc.) to various degrees - Nikon/Canon probably being the better corrected

- Not adapted for full frame - although some might be used at upper end settings (18-20mm equiv.) for desperate cases.

- All use big filters (77-82mm) that in most cases need to be slim type to avoid (further) vignetting (add at least 50$ to your budget)

- Lower wide angle setting difficult to cover with most flash.

Probably, the best is to use wides with full frame cameras.

APS-C wide angle zooms offer a compromise and all offer competent packages for around a pound in weight and half a grant in cost (except Nikon and Canon which cost more).

The question remains whether extreme wide-angle zooms can be used hand held. The lens need to be horizontal to avoid perspective deformation which already with primes would recommend for tripod use all the time. The zooms are not so fast and probably not at their best at wide apertures, so usability in low/available light is limited unless used with high ISO proficient cameras such as D300.

The good news is that if you like hyper-focal these lenses have plenty and this is further enhanced by the digital sensor - so it will be hard to work on defocus areas. Also, close focus is often very interesting (around 24cm in most cases).

Finally, if you really need to go for a wide zoom with an APS-C cameras, the choice is made easier by the wider offer on the market and clearly competitors have done a lot of work to challenge the market leaders.

Nikon lenses on Canon EOS

It is possible to mount Nikon lenses on Canon EOS bodies with a simple adapter ring that can be found online. All Nikon lenses become mechanically compatible. Only Nikon G lenses are less practical to use as they have no diaphragm ring (not to mention Nikon S rangefinder lenses). Apart from that all Nikon lenses can be mount bot those with F ring (uncut) and AI/AIS/AF/AFD.

Nikkor S auto 50mm f1.4 on Canon EOS 50D

Of course, you have to focus manually and contrary to Nikon bodies, Canon does not provide focus confirmation. However it provides metering. Lenses focus beyond infinity. So overall, this require a bit of attention and is not as carefree as leaving the AF kit zoom all the time. Results may vary in terms of quality of the images produced depending on the lens used.

With 50D, being a cropped sensor camera, the lenses that are most interesting to use are Macros or fixed tele (200 f4). On 5D, being a full frame camera, one can use nikon wides, 50/1.4, vintage 85/1.4, etc. One interesting feature of EOS 50D/5DmkII is the hability to use live view function for fine tuning the focus (not for action photography). Another approach is to use hyperfocal and rely on auto-ISO function given the good high ISO performances of the cameras.

LUMIX G1

Ok by now everybody has seen or at least heard about this camera.

It's cool (it comes in red if you want it), compact and delivers good images.

So where is the catch?

No optical view finder - replaced by a electronic one

No prism means no glass - lighter body and less costs

First impressions

Its an improvement compared to bridge cameras but still if you have a nice LCD on the back (which is movable) maybe you don't need at all the viewfinder.

Size - I like the compact camera body and the design, but frankly I hold it with my three fingers (not that I have particularly large hands). In general, I favors using additional battery grips which provide better handling especially with large lenses. For using the G1, I would immediately look for the grip - which btw is not foreseen.

The G1 is aimed at being used with compact lenses, but still despite appearances, the camera is not that compact. Canon G10 is more compact - but it has a built in lens which cannot be replaced, so its not an SLR. But 450D and even its lighter version the 1000D have more resolution has an optical view finder with mirrors and everything (ok don't expect High Point) and sells for less. Pentax KM is also an interesting camera and holds better in the hand.

In fact, probably in this league of cameras, the rangefinder type (such as G10 which is the grand nephew of the Canonet) seems better suited for descreet, available light, quality lens photography. The Lumix is rather based on a video camera design, hence electronic view finder, movable screen, and contrast detection autofocus.

The funny thing is that it does NOT have (yet) video capacity. Panasonic displayed a prototype of an HD capable G1 which will be available in 2009. A full HD version may not be available before 2010. Even then, it will remain to be seen which functionalities the lens will retain when shooting video.


The only "concessions" to SLR design are the use of a mechanical shutter and the use of interchangeable lenses, which with the adoption of the new micro four/thirds format are more compact than ever.

First conclusions

Its a novel design which builds on the bridge cameras legacy of combining features from videocam and SLRs.

The camera seem to deliver, according to various commentators, a good level of image quality which position it above the average compact digital camera and among the medium high level of the most recent consumer DSLRs.

Strong points

Image quality

compactness

Live view and in lens Image Stabilisation

LCD panel is large and moving

More questionable points

Has a lot of videocam genes but... no video

Price - you can get a D60 with double lens kit for the price

New lens (sub?) system

Not that compact compared to G10, 450D or Pentax KM

DSLR Cinema 1

Canon 5D mark II is the first Digital SLR to have full HD (1080p) video capacity.

This is a major breakthrough - see article about HD DSLR

See trial videos

• video shot in Japan,

• Chicago video

• or this one (check out the night helicopter shot)

Nikon D90 is the first Nikon DSLR to have video capacity although in 720p, no AF (VR on VR lenses?) but great low light sensibility (by the look of it).

See video tests here. Video in Paris (cool music...)

Look like people have watched Collateral heavily... (which btw is the first movie to be shot HD )

The idea I guess is that in both cases you can attach a wide range of great lenses , notably fast f1.4 like lenses which allows better control on focus/defocus areas.

Accessories are already available to turn these cameras into movie cameras.

Canon Powershot SX1 - cutaway

DSC_7528-2, originally uploaded by pincolatino.

10 Mpixels - HD video - Digic IV - CMOS

Powershot G10 accessories display at Photokina

DSC_7522-2, originally uploaded by pincolatino.

Powershot SX1 IS and G10 Lenses compared

DSC_7525, originally uploaded by pincolatino.

Canon Powershot G10 IS

OK so last Photokina it was G7 which was a disappointment although built around a completely new chassis, as it lost Raw mode, max f2 lens and movable screen.

Instead it added 10 megapixels, optical stabilisation, more tele range up to 210 (35mm eqiv.), DIGIC III and gained a lot of plastic. I don't know the numbers but it seems to me that it may have not been such a hit. So much that a G8 was never released. Instead the G9 was released a year later which further increased pixel count to 12.1, a wide and better 3.0” LCD .

Now the G10 sports wider lens at 28mm f2.8, DIGIC IV and uses a CCD with 14.7 million pixels.

Interestingly, the SX1 features a 10 Mpixels CMOS. It is the first compact camera to use this type of sensor. Although this is a smaller sensor than those used by Canon 400D - 450D SLRs.

It may be expected that, unless Canon engineers manage to stretch the 1/1.7” CCD pixel density (mind this is a relatively big sensor), the next move could be integrating CMOS into the G series. CMOS is considered as less noisy at higher ISO setting.